Confucianism and Taoism are of unparalleled importance in shaping the face and spirit of Chinese culture. "In terms of thought, literature and art, this is mainly manifested in Confucianism represented by Confucius; Taoism represented by Zhuangzi has made its opposition and complement. The complementarity of Confucianism and Taoism has been a basic clue of Chinese aesthetic thought for two thousand years. ." Reflected in aesthetics, it can be roughly said that Confucian aesthetics advocates "harmony", while Taoist aesthetics pursues "miao", and the two constitute the concerto of Chinese classical aesthetics. As long as you read Confucius' "The Analects of Confucius" carefully, it is not difficult to find an interesting phenomenon. Most of Confucius's expressions on aesthetics emphasize the harmonious relationship between some opposite categories. For example, "Zi said "Shao": 'To be beautiful, but also to be good.'" "Quality is better than literature, and history is better than literature. The gentleness is gentle, and then the gentleman." ""Guanju" is happy but not obscene, sad Rather than hurt."

Obviously, the core of Confucianism is to emphasize "harmony". "Harmony" is not only the aesthetic requirement of art itself, but more importantly, the emotion expressed by art must be restrained by "li". Therefore, an important function of art in traditional society lies not only in emotional pleasure, but also in social harmony. The following passage can quite illustrate this concept: The Master said: If you are happy in the ancestral temple, if you listen to it at the same time, you will be harmonious and respectful. In the village of the patriarch, the elders and the young listened to him, and they were all in harmony. Within the boudoir, fathers, sons and brothers listen to each other, and they all agree with each other. Therefore, the musicians respect harmony and conformity, and compare the decoration of objects to festivals. The rhythm and rhythm are combined into a written text, so the father and son are combined with the ruler and the minister, and they are attached to the people. It is the meaning of the former king's music. This concept of closely integrating art and daily life ethics reflects the core of Confucianism. Just as Li Zehou said, Confucius did not lead people's emotions, concepts and rituals to external worship objects or mysterious realms, but to introduce and dissolve them. In the world relationship and real life of people based on parent-child blood relationship, they express and satisfy their feelings in the daily psychological-ethical social life.

This is also an important feature of Chinese art and aesthetics. From this point of view, most of the basic categories of Chinese aesthetics emphasize their functional relationships, such as "yin and yang", "being or not", "shape and spirit", "virtual reality", "rigidity and softness" and so on. "The categories, laws and principles of Chinese classical aesthetics are mostly functional. As a contradictory structure, they emphasize the penetration and coordination between opposites, rather than the exclusion and conflict of opposites. As a reflection, they emphasize more It is the expression of the inner life, not the faithfulness of the simulation and the credibility of the reproduction. As the effect, the emphasis is more on the combination of reason and reason, and the wisdom hidden in the emotion to obtain the harmony and satisfaction of real life, rather than the irrational mystery. Crazy or supernatural beliefs. As images, the emphasis is more on emotional grace ('feminine') and grandeur ('masculine') than fatalistic fear or tragic sublime. All of these classical Chinese aesthetics The principle of 'neutralization' and the characteristics of art can all be traced back to the rational spirit of the pre-Qin period.

Confucianism and Taoism are of unparalleled importance in shaping the face and spirit of Chinese culture. "In terms of thought, literature and art, this is mainly manifested in Confucianism represented by Confucius; Taoism represented by Zhuangzi has made its opposition and complement. The complementarity of Confucianism and Taoism has been a basic clue of Chinese aesthetic thought for two thousand years. ." Reflected in aesthetics, it can be roughly said that Confucian aesthetics advocates "harmony", while Taoist aesthetics pursues "miao", and the two constitute the concerto of Chinese classical aesthetics. As long as you read Confucius' "The Analects of Confucius" carefully, it is not difficult to find an interesting phenomenon. Most of Confucius's expressions on aesthetics emphasize the harmonious relationship between some opposite categories. For example, "Zi said "Shao": 'To be beautiful, but also to be good.'" "Quality is better than literature, and history is better than literature. The gentleness is gentle, and then the gentleman." ""Guanju" is happy but not obscene, sad Rather than hurt."

Obviously, the core of Confucianism is to emphasize "harmony". "Harmony" is not only the aesthetic requirement of art itself, but more importantly, the emotion expressed by art must be restrained by "li". Therefore, an important function of art in traditional society lies not only in emotional pleasure, but also in social harmony. The following passage can quite illustrate this concept: The Master said: If you are happy in the ancestral temple, if you listen to it at the same time, you will be harmonious and respectful. In the village of the patriarch, the elders and the young listened to him, and they were all in harmony. Within the boudoir, fathers, sons and brothers listen to each other, and they all agree with each other. Therefore, the musicians respect harmony and conformity, and compare the decoration of objects to festivals. The rhythm and rhythm are combined into a written text, so the father and son are combined with the ruler and the minister, and they are attached to the people. It is the meaning of the former king's music. This concept of closely integrating art and daily life ethics reflects the core of Confucianism. Just as Li Zehou said, Confucius did not lead people's emotions, concepts and rituals to external worship objects or mysterious realms, but to introduce and dissolve them. In the world relationship and real life of people based on parent-child blood relationship, they express and satisfy their feelings in the daily psychological-ethical social life.

This is also an important feature of Chinese art and aesthetics. From this point of view, most of the basic categories of Chinese aesthetics emphasize their functional relationships, such as "yin and yang", "being or not", "shape and spirit", "virtual reality", "rigidity and softness" and so on. "The categories, laws and principles of Chinese classical aesthetics are mostly functional. As a contradictory structure, they emphasize the penetration and coordination between opposites, rather than the exclusion and conflict of opposites. As a reflection, they emphasize more It is the expression of the inner life, not the faithfulness of the simulation and the credibility of the reproduction. As the effect, the emphasis is more on the combination of reason and reason, and the wisdom hidden in the emotion to obtain the harmony and satisfaction of real life, rather than the irrational mystery. Crazy or supernatural beliefs. As images, the emphasis is more on emotional grace ('feminine') and grandeur ('masculine') than fatalistic fear or tragic sublime. All of these classical Chinese aesthetics The principle of 'neutralization' and the characteristics of art can all be traced back to the rational spirit of the pre-Qin period.